Abstract
In 1972, Marian Wood Kolisch began a career in photography. She had been a creative individual her entire life but did not find her professional niche until age fifty-two. Kolisch studied with prominent photographers, including Ansel Adams and Arnold Newman. Like Newman, her specialty was environmental portraiture where the subject is photographed in his or her own environment. Using environmental portraiture and recorded interviews, Kolisch produced her best-known body of work: documentation of Oregon's creative class. Included in this undertaking were Pietro Belluschi, Thomas Vaughan, John Yeon, Arlene Schnitzer, and LaVerne Krause. Through a series of interviews with Kolisch and an examination of her work-related notes and correspondence, Jennifer Strayer explores the contribution Kolisch made by preserving a segment of Oregon's history and Kolisch's feelings about her late-life accomplishment.
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